Category Archives: Romance

The Electric Horseman (1979)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Aging cowboy steals horse.

Sonny (Robert Redford) used to be a championship rodeo star, but those days are long behind him. Now he works as a spokesmodel for a cereal company and his next gig has him in Las Vegas where he’s set to ride a horse on stage while he wears a string of flashing lights. Sonny though has become disillusioned with the business as well as upset to find that the horse has been drugged, which propels him to ride off with it while the authorities and an aggressive TV reporter (Jane Fonda) are hot on his tail.

The story can best be described as a lightly comical variation of Lonely are the Bravebut without any of the strong dramatic impact. The biggest problem is that it reveals its cards too quickly making it too obvious what Sonny is planning to do, so when he finally does y abscond with the horse it’s not surprising or even interesting. I was intrigued at how he would get it out of the casino and past security, but the movie cheats this by cutting from him inside the casino one second to showing him outside on the street in the next frame, which takes away from potential action and excitement of having him fight his way out.

The chase inside a small town where Sonny and his horse outrun a mob of police cars and cops on motorbikes is fun, but it ends up being the only exciting moment in the film. Everything else gets toned down too much where even the bad guy, played by John Saxon, is boring because all he does is sit in a office while getting reports from others as to Sonny’s whereabouts instead of having him actively chase after the renegade cowboy himself, which would’ve heightened the tension.

Fonda’s character comes off like an unwanted house guest who tries to take over the place even when they weren’t invited. Her character is too abrasive and while everyone else is laid-back she comes of as being quite aggressive and otherwise out-of-place with the tone of the movie. Valerie Perrine, who has a much smaller part as Sonny’s ex-wife, does a far better job here and is more in step with the unglamorous, rugged western theme. Had she been the one to chase after Sonny then the romantic side-story that develops would’ve been cute and engaging, but having Fonda become the love interest just makes the whole thing seem forced.

Had the action and humor been  more jacked-up than it might’ve been a winner as Redford himself is quite good. I was a bit surprised too because I initially didn’t think this was the right fit for his talents, but his subtle country accent and brash attitude is fun and Willie Nelson, in his film debut, is quite good in support. Unfortunately the plot never catches its stride and in fact the more it goes on the boring it gets.

My Rating: 3 out of 10

Released: December 16, 1979

Runtime: 2 Hours 1 Minute

Rated PG

Director: Sydney Pollack

Studio: Universal Pictures

Available: DVD, Blu-ray (Region B/2)

Pete ‘n’ Tillie (1972)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Marriage and then tragedy.

Tillie (Carol Burnett) is a 33-year-old secretary still looking for ‘Mr. Right’. Her friend Gertrude (Geraldine Page) sets her up with Pete (Walter Matthau) a lifelong bachelor. The two don’t hit-it-off initially, but the other prospects are so dim they decide to make a go of it, so they get married and have a kid (Lee H. Montgomery) only to then be faced with terrible news.

On the onset this may seem like a misfire. The viewer expects, especially with these two stars, a very broad comedy of which this is not. Instead the script, which is based on the novel ‘Witches’ Milk’ by Pete De Vries, relies heavily on dry wit particularly through the dialogue, which on a low key level is quite funny. The attempt to create a sort-of unromantic romance that goes completely against what we’ve come to expect in most other romantic films is commendable and for the first hour or so it kind of works.

Matthau again shines by managing to make an unlikable character likable and even downright engaging while Montgomery is fun as the kid by playing a child that seems far more mature and sensible than his two parents. Burnett’s performance though doesn’t work as well. She’s known for her hammy performances from her TV-show and yet here plays a more serious part that barely has much comedy to it at all. The scene where she  screams up to the sky in a fit of rage over her son’s death is her best moment, but overall her appearance here is largely forgettable.

Her character’s motivations are confusing as well particularly with the way she jumps into marriage with a man she really doesn’t like and who would repel most other women and then she decides to stay with him even as it becomes painfully clear that he’s cheating on her. It just seemed that a reasonably attractive woman such as herself should have other male suitors to choose from, so why she sells-out for this one and sticks with him when others would run is not clear and the movie should’ve done a better job at answering this.

Geraldine Page’s character seems completely out-of-sync with the proceedings. She’s personally one of my favorite actresses and even though she was nominated for an Academy Award for her performance here I didn’t see what her presence added to the story. Having her pass out at a courthouse simply because she doesn’t want to reveal her age gets rather exaggerated. The physical altercation that she has with Burnett afterwards does not fit the tone of the rest of the film, which tried to be low-key while this bit becomes over-the-top slapstick and completely out of place.

Had the film focused entirely on the courtship phase this thing could’ve been a winner as it has a nice dry offbeat touch. Even the melodrama of the second act I could handle, but the crazy antics of the third act don’t work at all and the ending leaves no impact at all making this an interesting experiment that ultimately fails.

My Rating: 6 out of 10

Released: December 17, 1972

Runtime: 1 Hour 40 Minutes

Rated PG

Director: Martin Ritt

Studio: Universal

Available: DVD-R (Universal Vault Series)

Lovesick (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Therapist falls for patient.

Saul (Dudley Moore), who works as a psychoanalyst, starts to see a new patient, Chloe (Elizabeth McGovern) who he immediately starts having feelings for, but every time he fantasies about her he sees a vision of Sigmund Freud (Alec Guinness) in his head who advises him not to go through with it due to ethical issues. The problem is that Chloe also has feelings for Saul. Can the two work out a relationship despite being up against professional and societal obligations that won’t let them?

The biggest mystery here is why these two stars would choose to act in this project. Moore was coming off two mega hits at the box office and McGovern had just gotten nominated for an Academy Award for her work in the critically acclaimed Ragtime and yet they choose this vapid thing as their follow-up. I realize it was written by Marshall Brickman, who won the Oscar for his Annie Hall script, but not everything he touches will turn to gold and it’s pretty obvious pretty quickly that this screenplay isn’t on par with that one. In a lot of ways this thing, which was critically panned and just barely able to break even at the box office, could be blamed for sinking both of their careers. It also smothers their talents by forcing Moore to play a part in too normal of a way to the point that he isn’t funny at all and completely upstaged by everyone else. McGovern on the other hand, who was only 21 at the time, plays a woman who is more middle-aged, which squelches her youthful beauty and energy.

The supporting cast aren’t allowed to play to the full potential of their talents either. I was intrigued to watch the movie when I read the plot synopsis about Alec Guinness appearing as Freud, which I presumed would be really funny, but the concept does not get played-up enough and becomes completely dull and forgettable. Alan King with his abrasive personality is always good for a few sparks, but here his presence doesn’t add much and it would’ve been funnier had he been cast as a therapist.

The biggest disappointment is how Ron Silver gets misused. He plays the perfect composite of an arrogant, obnoxious actor that manages to give the film a slight boost, but then as it progresses his demeanor gets softened until he becomes as boring as everyone else and then by the second-half he gets dropped completely.

The story itself is unbelievable and hard to fathom how anyone could’ve given it the green light. The part where it jumps-the-shark is when Moore steals McGovern’s house key, breaks into her home, reads her private diaries and then eventually gets caught hiding in her bathtub, but instead of her becoming freaked out about this and running to the police she immediately goes to bed with him!

It’s not like therapists don’t sometimes have romantic feelings for their patients or vice versa, but that doesn’t mean they always follow through with their emotions, or if they did it most likely wouldn’t work out. The film here takes an intriguing concept and then glosses over all of the potential complications that would ensue. Everything works out too seamlessly by packaging a complex issue in too much of a cutesy way.

My Rating: 2 out of 10

Released: February 18, 1983

Runtime: 1 Hour 35 Minutes

Rated PG

Director: Marshall Brickman

Studio: The Ladd Company

Available: DVD, Amazon Video, YouTube

Liar’s Moon (1980)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Couple harbors dark secret.

During the summer of 1949 in a small Texas town Jack (Matt Dillon), who has just turned 18, falls for Ginny (Cindy Fisher) who is 17. Jack is from the poor side of town and helps out his father (Hoyt Axton) on a family run farm while Ginny lives a more privileged life as the daughter of the town’s banker (Christopher Connelly) As Jack and Ginny’s relationship progresses they find stiff resistance to it from their mutual parents particularly Ginny’s father, but they don’t know why. In order to get married they go to Louisiana to elope, but Ginny’s father hires a detective (Richard Moll) to track them down and bring his daughter back no matter what the cost.

The one aspect about the movie that I did like is that it paints its small town characters in a generally positive light. Too many times movies that deal with stories that took place in a bygone era always seem to portray the characters as being more dopey than people of today, or more racist and meaner especially if it takes place in the south, but fortunately that doesn’t occur here. Instead we get shown regular, everyday people that you could easily meet today that just so happen to have lived a long time ago.

The film also has a nice leisurely pace to it and the romantic angle doesn’t seem quite as rushed, which is good, but the film also lacks finesse. The only part of the movie that has any atmosphere or cinematic flair is the opening flashback sequence, which gets done in black and white, while the rest of it pretty much flat lines. The scene where three men get royally drunk on some strong whiskey and another one where the town’s young men try to tackle a baby hog at the fair are the only times when there’s spontaneity or verve.

The story itself is too obvious and too many clues are given away, so by the time the ‘shocking’ secret get revealed you pretty much had guessed it way earlier. A few extra twists are thrown in during the final 15 minutes, but overall it becomes soap opera laden and too similar to the tragedy tinged teen romances of the 70’s that gives the whole thing a formulaic feel.

The eclectic cast is really the only interesting aspect about the film with Dillon giving a solid performance and Fisher looking quite beautiful even when she is constantly crying, which is pretty much all she does during the final third. Academy Award winning actor Broderick Crawford, whose last film this was, gets completed wasted in a pointless role that has very little screen time and the same goes for Yvonne De Carlo who speaks here in what sounds to be an Irish accent. Susan Tyrrell though is strong playing another one of her fringe characters, this time in the form of a prostitute, who comes off as cold and snarky at first, but eventually becomes surprisingly sympathetic.

Spoiler Alert!

Two different endings were filmed and distributed and which ending you saw depended on which theater you attended. One has the main character dying while the other one doesn’t, but both come-off as rather cheesy and make you feel like sitting through this thing really wasn’t worth it.

My Rating: 3 out of 10

Released: September 2, 1982

Runtime: 1 Hour 46 Minutes

Rated PG

Director: David Fisher

Studio: Crown International Pictures

Available: DVD, Amazon Video.

Out of Africa (1985)

By Richard Winters

My Rating: 9 out of 10

4-Word Review: An illicit love affair.

In 1913 a wealthy Danish woman named Karen Dinesen (Meryl Streep) gets spurned by the man she is in love with, so on the rebound she decides to accept the marriage proposal of the man’s brother, Baron Bror Blixen (Klaus Maria Brandauer) Despite the fact that neither she nor he are in love with the other, but decide to make it a marriage of convenience. They move together to Kenya where they plan to at first start a cattle farm, but it soon turns into a coffee plantation. Through the years Karen’s marriage to Bror begins to sour as he continues to have affairs with countless other women, so Karen turns her attention to the dashing big-game hunter named Denys (Robert Redford) and the two share a passionate and adventurous love affair, but when Karen tries to turn their relationship into a committed one he refuses.

The film, especially the first hour, comes off more like a broad sketch than a fluid story, or a highlight reel taken from a wide outline. I could never really get any type of handle of who this Karen person really was. I never understood why she would want to leave Denmark for Africa, or why she’d be so quick to settle down with a man that she didn’t love. So what if she got spurned by one guy there’s still other fish in the proverbial sea. Why not wait around for someone she could truly be excited about instead of just jumping in with someone that she really wasn’t?

To some degree I did find the marriage-of-convenience idea an interesting one. It’s rare that both parties admit that neither has the hots for the other, but still decide to make a go of it, which seemed like highly modernistic behavior especially for the time period and I was hoping this whole scenario would be explored more, but the film treats this mainly as a side-story that pretty much fades away after the first hour.

The introduction of the Denys character gets a bit botched too as he keeps popping in and out at the most convenient times out of literally nowhere, like when Karen finds herself ready to be attacked by a lion, and then just as quickly disappearing again almost like he were a magical genie.  The fact that Streep puts in so much effort into her Scandinavian accent, but Redford puts none into conveying an English one is off-putting. Supposedly Redford did initially try to speak with a light accent, but director Pollack apparently found it ‘distracting’ and advised him to speak without it, but in the process it makes the acting seem uneven.

It’s during the second-half where the film really comes together as it focuses solely on the affair though in real-life there was only a two year difference between Karen and Denys, but here there’s a 12 year difference between the actors playing the part and it shows, but despite that discretion this segment really works. I loved watching the different things that the couple did like playing a phonograph record to some monkeys and seeing how they responded to it and watching Karen taking an airplane ride for the first time and all the majestic scenery that she takes in.

The cinematography is indeed sumptuous and one of the things that holds it altogether even when the script jumps precariously and sometimes jarringly from one point in Karen’s life to another. The film would’ve worked better had it focused on only one area, like her relationship with Denys, which could’ve helped create a stronger, more immediate emotional impact with the viewer while also cutting down on the excessively long runtime.

My Rating: 9 out of 10

Released: December 10, 1985

Runtime: 2 Hours 41 Minutes

Rated PG

Director: Sydney Pollack

Studio: Universal

Available: DVD, Blu-ray, Amazon Video, YouTube

A New Leaf (1971)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Marrying for her money.

Henry Graham (Walter Matthau) has been living off of his vast inheritance for years only to find that his overspending and has now made him broke. Since he has no work history and no interest in getting a job he decides the only other alternative is to marry a rich woman. He finds his target in the form of Henrietta (Elaine May) who is an heiress to a massive family fortune. She is also quite homely, socially inept, and very into botany. Henry decides to ask for her hand in marriage and then once they are hitched kill her off and acquire her fortune for himself, but nothing goes as planned.

The plot is based on a short story ‘The Green Heart’ by Jack Ritchie and is full of many ingenious twists that helps propel the dark comedy along at a very even tone. Director May’s use of dry, subtle humor comes in perfectly for this type of material. So many other Hollywood comedies feel the need to bombard the viewer with broad, in-your-face gags so it’s genuinely refreshing to have a film take a more restrained approach by allowing the humor to peculate more. Instead of a rapid fire, gag-a-minute pace the film stretches the comical bits out for several minutes allowing the actors to play up the scene to a full crescendo with Henrietta’s inability to wear her evening nightgown properly on their honeymoon being quite possibly the funniest.

The characters are made up of extreme caricatures and in less talented hands could’ve been a detriment, but Matthau manages to play his part so astutely that the viewer ends up liking him anyways and his arc, where he reluctantly and quite unexpectedly ends up helping Henrietta out of several jams that she wasn’t aware of, is quite satisfying. George Rose, who sadly and ironically ended up having the same fate that almost befell the May character here when in 1988 in an attempt to get his hands on Rose’s fortune the teenage son that he adopted killed him while trying to make it look like a car accident, lends great support as Matthau’s wise and loyal butler.

Like with May’s other projects including the notorious Ishtar this film suffered many cost overruns and production delays most notably the 10 months it took to edit the film, which initially ended up having a 180 minute runtime and featured a secondary story dealing with Matthau poisoning a blackmailer played by William Hickey. The then head of Paramount Robert Evans decided, much to May’s objections, to cut this part out, which shortened it to 102 minutes, which I personally feel was a good idea. While I usually like director’s cuts the story here is too thin for a 3-hour length and in many ways goes on a bit too long the way it is although it would still be cool to see the extra footage, which is rumored to have been either lost or destroyed, as a bonus feature on a future DVD/Blu-ray release.

As a simple black comedy it comes off pretty well and even has a cute twist ending. Although a box office flop at the time it has garnered strong acclaim and since become a cult classic. The two stars also reunited 8 years later playing another couple in the Neil Simon farce California Suite

My Rating: 7 out of 10

Released: March 11, 1971

Runtime: 1 Hour 42 Minutes

Rated G

Director: Elaine May

Studio: Paramount

Available: DVD, Blu-ray, Amazon Video, YouTube

Soul Man (1986)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Pretending to be black.

Mark Watson (C. Thomas Howell) has been accepted into Harvard Law School, but just before he’s ready to attend his father (James B. Sikking) states that he won’t help to pay for it forcing Mark to try and find other avenues of funding. He eventually decides to take some tanning pills, which makes his skin darker and then apply for a scholarship only available to African American students. After getting the money he continues with the charade, but encounters many problems along the way that he wasn’t expecting.

This is one comedy that hasn’t aged well at all. At the time of its release it wasn’t considered too great to begin with and I avoided it, but now almost 30 years later the blackface plot line has made it a bad stain on the careers of those involved particularly the producer, writer and director who were all white and apparently thought they were ‘woke’ and making something ‘socially relevant’, but really weren’t. However, even if you get past the politically incorrect scenario this is still a really bad movie either way.

The basic premise is the biggest problem as Howell never ever effectively looks black, Egyptian maybe, but more like some white guy wearing a tacky wig and who stayed under the sun lamp too long. The fact that anyone could believe that he was really black for even a second is patently absurd as his skin is more of a dark beige color and his other facial features never change, which makes the scene where his own parents don’t even recognize him all the more stupid.

The idea of having him intentionally overdose on tanning pills just brings up even more questions. For instance if he takes more than the recommended dosage wouldn’t that cause some dangerous side effect and how exactly is he able to turn white again at the end as overdosing on the pills would’ve most likely have caused some sort of long term health risk to either his system or skin.

The fact that he’s able to get the scholarship right away is pretty ridiculous too. Don’t applicants have to go through some sort of background check before they get accepted or do they simply get handed the money the minute they walk in and ask for it like it seems here and wouldn’t this background check then expose that he was really white?

This also has to be the dumbest guy ever to get accepted into Harvard. I’m not saying the character has to necessarily conform to the nerd stereotype, but the guy comes off like a world class slacker from the beginning who proceeds to say and do one clueless thing after another until you wonder if he’d ever be accepted into junior college let alone an Ivy League one.

James Earl Jones’ performance, where he channels the black version of Professor Kingsfield from The Paper Chase, is one of the film’s few bright spots. I also enjoyed Rae Dawn Chong who plays Howell’s potential love interest and who comes off as far more real and multi-dimensional than any of the other characters in the film to the point that she should’ve been made the star while scrapping Howell and his silly shenanigans completely.

Not only does the film fail to offer any true meaningful insight into race relations, but it manages to stereotype white people in the process particularly the two white male students who are constantly getting caught making racist jokes about black people. Is the viewer actually supposed to believe that this is all these two guys ever talk about as it certainly is made to seem that way, which is just one more example as to why this has to be one of the clumsiest, most unfunny and most poorly thought out satires ever made.

My Rating: 1 out of 10

Released: October 24, 1986

Runtime: 1 Hour 44 Minutes

Rated PG-13

Director: Steve Miner

Studio: New World Pictures

Available: DVD, Amazon Video, YouTube

Breezy (1973)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Hippie falls or businessman.

Edith Alice ‘Breezy’ Breezerman (Kay Lenz) lives the life of a hippie after losing both her parents to a car accident years earlier. Her transient lifestyle consists of one-night-stands and hitching rides from strangers. One day she jumps into a car owned by Frank Harmon (William Holden). Frank is a middle-aged man who went through a tumultuous divorce years earlier and isn’t interested in getting into a relationship especially with someone young enough to be his daughter and yet Breezy’s carefree ways begin to grow on him and despite his reluctance the two slowly form a bond.

The script was written by Jo Heims who also penned Clint Eastwood’s earlier hit Play Misty for Me. Originally she wanted Clint to play the part of Frank, but he felt he was too young for the role and decided he would direct instead although you can still spot him for a brief second leaning against a wooden rail during a scene at a boardwalk. Unfortunately his fan base  was expecting to see more of an action or western flick and not some laid-back counter-culture love story and much of his following gave it a-bad-word-of-mouth to others who then stayed away. After some bad reviews from an initial screening the studio decided to shelve it for a year before finally releasing it to select theaters with very little promotion, which caused it to tank at the box office, but this is definitely a movie that deserves a second look.

One of the things that I liked is that it tackles the controversial subject of relationships with a wide age difference something that is still sometimes considered ‘gross’ even by otherwise liberal minded people today. Yet the subject gets examined in a refreshingly non exploitative way where it is actually the man who is reluctant to get involved and even at one point outright rejects her while she continues to pursue it convinced that despite one of them ‘being on this planet a little bit longer than the other’ they still have the same wants and needs.

The film like its title has a nice ‘breezy’ pace too that reflects its Bay area setting quite well and allows the viewer to get to know the characters and their interpersonal dynamics without ever feeling that it gets rushed or is forced. The introspective script makes many key insights particularly with the Holden character and how his ‘old school’ upbringing and fear of being judged by others makes him hesitant to get involved despite the strong feelings that he has for her.

Eastwood shows astute direction as well. I particularly liked the scene where Holden writes down the phone number from a lady guest and then the camera follows the woman out of the house and remains focused on her through the front window as she gets into a cab while we also see the back of Holden’s hand who crumples up the piece of paper with the phone number on it and throws it into an ashtray, which shows us his disinterest in her visually without having it verbally explained and is a hallmark of good filmmaking.

The motivations for Breezy’s character particularly the reasons for why she falls so quickly for Holden isn’t clear. There is also a scene where Holden puts an injured dog that he rescued from the side of the road into his car, but it never shows what he did with it. Then an hour later that same dog comes back into play as we realize he had taken it to a vet., but I felt that segment should’ve been shown since it ends up being integral to the story otherwise this is a really well made sleeper looking to find new fans who can appreciate an intelligently done romance.

My Rating: 7 out of 10

Released: November 18, 1973

Runtime: 1 Hour 46 Minutes

Rated R

Director: Clint Eastwood

Studio: Universal

Available: DVD, Blu-ray (Region B), Amazon Video, YouTube

Oliver’s Story (1978)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Adjusting to wife’s death.

It’s been 6 years since Oliver (Ryan O’Neal) lost his wife to leukemia and he’s still having a hard time learning to move on from it. He hasn’t been in a serious relationship since and his friends including his step father (Edward Binns) are pressuring him to start dating. Finally by chance he meets Marci (Candice Bergen) while she is out jogging. She is secretly an heiress to a massive fortune, which allows the two to connect due to their similar well-to-do upbringings, but when things start to get serious Oliver finds himself  resisting unable to cut the ties from his past and move forward.

This is definitely a sequel that nobody asked for and in fact both O’Neal and Bergen initially had no interest doing it. The original film worked because it centered on the couple and when you take away one of them you have only half a movie. Oliver on his own is boring and watching him learn to adjust to life as a single person is not compelling and no different than the hundreds of other movies dealing with the dating scene.

John Marley, who played Jenny’s father in the first film, refused to appear in this one because he was unhappy with how his name was going to be placed in the credits, so he got replaced by Edward Binns who seems to be playing a completely different character. Here the father-in-law and Oliverhave acquired a chummy friendship and even hang out together despite this never having been established in the first film. Ray Milland reprises his role as Oliver’s father, but gets portrayed in a much more likable way while in the first one he came off more as a heavy.

The film’s only interesting aspect is seeing how much the social norms have changed. Here being single is considered like a disease and his pesky friends are emboldened enough to set Oliver up on dates and openly telling him that he needs to ‘get out more’ even though by today’s standards the single lifestyle is much more prevalent and accepted and doing these same types of actions now by well meaning friends would be considered intrusive and obnoxious.

Having one of the women that he meets at a dinner party invite him back to her place despite barely knowing him is something not likely to occur today either. The way though that Oliver meets Marcie is the most absurd as he quite literally chases her down while she is jogging, which would scare most women into thinking that they had a crazy stalker on their hands.

On the production end the film is competently made with the springtime scenery of New York as well as shots of the couple’s trip to Hong Kong being the only thing that I enjoyed. The story though lacks punch and drones on with too many side dramas. O’Neal’s performance is good, but his chemistry with Bergen is lacking, which ultimately makes this a production that had misfire written all over it before a single frame of it was even shot.

My Rating: 3 out of 10

Released: December 15, 1978

Runtime: 1 Hour 30 Minutes

Rated PG

Director: John Korty

Studio: Paramount

Available: DVD, Amazon Video,  YouTube

Love Story (1970)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Romance and then death.

Oliver (Ryan O’Neal) is attending Harvard Law School where he meets Jenny (Ali MacGraw) a student studying classical music. The two don’t hit-it-off at first, but eventually fall in love and marry despite the objections of Oliver’s father (Ray Milland). Just as things seem to be falling into place Jenny gets diagnosed with a fatal illness, which sends Oliver’s world spinning out-of-control.

Erich Segal’s script, which he later turned into a best-selling novel, is simplistic, but the on-location shooting done in and around Harvard is outstanding and helps give the film, along with some well done hockey footage, an added energy. This is one of only a few films to be allowed to shoot there and they were kicked out after only a week due to being too much of a distraction, but it was just enough to give the movie a good authentic college vibe. The snowy landscape plays a big part of it and there’s even a scene where the two play in it, but some shots feature a lot of it in the background only to have a few scenes spliced in where there is none of it on the ground, which makes it a bit visually jarring.

On the romantic side I liked the fact that Jenny is initially prickly towards Oliver and he has to work at getting her to soften up. Men actually do enjoy a challenge and having a woman just throw herself at a guy, or having the relationship start out seamlessly is just not as interesting or realistic. However, having Oliver profess that he ‘loves’ her after only the first date glosses over the courtship aspect too much and essentially ruins the intrigue in the process.

O’Neal is excellent here and he was picked over a lot of other big name stars simply for his ability to react to a situation in effective ways, which he ends up doing quite well. Yet I felt it would’ve worked better had he been the one from the poor-side-of-town as he’s more convincing as a rugged blue collar type instead of a studious student, or their contrasting economic backgrounds not been played-up at all since for me it didn’t really add much.

Spoiler Alert!

The film’s most notorious flaw though, and one that was parodied in a very funny send-up of the movie on ‘The Carol Burnett Show’, is the whole mystery illness thing (supposedly it’s leukemia, but never explicitly stated) that comes out of nowhere without Jenny ever showing an symptoms and having her die in a sudden car accident would’ve solved this issue and been more believable.

Personally though I was more shocked by the fact that the Dr. tells Oliver about Jenny’s diagnosis before he informs her. If she were a child that would be fine, but she’s an adult and deserves to know about her own health affairs before anyone else and if this had occurred today it would’ve gotten him into a lot of trouble.

The narrative also gets a bit askew as Oliver takes the news much harder than she does. Shot after shot shows him getting all misty-eyed almost like the viewer should feel worse for him, as he is now losing the object of his affections instead of her for losing her life.

End of Spoiler Alert!

The film is also famous for the line “Love means never having to say you’re sorry”, which to me never made any sense as relationships are dependent on the other party asking for forgiveness when they’ve done wrong and simply presuming they can get away with anything and expect unconditional acceptance doesn’t work. Two of my female friends agreed with me on this, which only proves how placid and shallow this film ultimately is.

My Rating: 5 out of 10

Released: December 16, 1970

Runtime: 1 Hour 40 Minutes

Rated GP

Director: Arthur Hiller

Studio: Paramount

Available: DVD, Blu-ray, Amazon Video, YouTube